All Is But Fantasy by Whitney White (Royal Shakespeare Company) – 8★ REVIEW

Podcast: MickeyJoTheatre
Host: Mickey Jo
Episode Date: February 11, 2026

Episode Overview

Mickey Jo delivers an in-depth review of Whitney White’s multifaceted play, All Is But Fantasy, staged at The Other Place, RSC, Stratford-Upon-Avon. Blending theatre criticism with personal reflection, he explores this two-part, genre-defying work that interrogates Shakespeare’s female characters (specifically those who die) through a distinctly contemporary, intersectional lens. The episode is incisive, passionate, and full of memorable observations about performance, direction, and the societal resonance of canonical drama.

Key Discussion Points & Insights

1. Premise and Structure of the Play

• All Is But Fantasy is actually two plays, each with two acts, not strictly labeled as such (01:17).
  • Four characters are interrogated: Lady Macbeth, Emilia (from Othello), Juliet, and Richard III (01:17).
• The play is written, directed, composed, and centrally performed by Whitney White, with a British supporting cast and a band, merging personal narrative with metatheatrical critique (01:44).
• The central thesis: What is the cost—for women, especially Black women—to perform and embody these roles, and what does it do to society to tell these stories over and over? (02:18)

"It's a very personal work, a very raw and exposing one, as she explores and interrogates these various different Shakespearean characters, specifically Shakespeare's women, specifically women whose deaths are depicted in Shakespearean plays."
— Mickey Jo, 01:44

2. Detailed Breakdown of the Play’s Arc

Act 1: Lady Macbeth (03:15)

• Whitney White begins with Lady Macbeth, juxtaposing her own identity and experiences as a Black woman with the onscreen role.
• Lady Macbeth is played "as if she were Tina Turner," paralleling two empowered, tragic women (04:50).
• The act is punctuated by a trio of witch backing singers (Renee Lamb, Georgina Honora, Tamika Ramsey) described as “staggering” in talent and chemistry (05:05).

Act 2: Emilia in Othello (07:23)

• Introducing Juliet Crosby as Desdemona (08:18), this section unpacks race, abuse, and the dynamics of female relationships.
• Keen interrogation of tropes: Why do smart, capable women remain in abusive relationships, and what is the impact of constantly reviving Othello with charismatic actors as villains?
• Direct discussion of “the eloquent, surprisingly articulate black person” trope and Shakespeare’s role in perpetuating it (11:42).

"If you're going to produce Othello, you owe it to the audience to have some kind of meaningful conversation about domestic violence, as well as everything else the play is exploring."
— Mickey Jo, 10:58

Act 3: Juliet (13:12)

• The show returns from break with a modern, abstract take, with characters depicted as younger, in a nostalgic almost Y2K aesthetic.
• Whitney White is “reluctant” to play Juliet, stating “I don’t give good Juliet,” marking a shift in both tone and focus (13:38).
• This segment feels somewhat disconnected from the initial thesis, though it explores adolescent themes and perspectives.

Act 4: Richard III (14:35)

• Instead of the usual actor dynamic, Whitney plays Richard III; Daniel Crickler is required to play multiple female roles, leading to a charged gender-role inversion and confrontation (15:20).
• The show overtly addresses Richard’s disability, linking that otherness to Whitney’s own experiences:
  "I do not know what it's like to be in a body that doesn't move in the way you want it to, but I do know what it's like to be in a body that makes people turn away."
  — Whitney White, as discussed by Mickey Jo, 16:07
• The thematic culmination is emotionally resonant but arguably unsatisfying and less cohesive than the first half.

Notable Quotes & Memorable Moments

On the Piece’s Impact and Relevance

"The very idea of this play is to my mind, so brilliant and so exciting. ... Pieces of theatre that are unashamedly about theatre ... there's so much conversation in there about the wider community, about women, about Black women, about society in general, about violence, about what we interpret from these stories ..."
— Mickey Jo, 17:45

On the Disjointed Nature of the Two Parts

"There's something of a disjointed feeling between the two at the moment. ... It's not a 4 and a 4. If anything, it's a 5 star and a 3."
— Mickey Jo, 02:42

On Music and Staging

• Whitney White’s use of music is likened to “gig theatre” and “high art cabaret,” with songs serving as emotional punctuation rather than narrative drivers (05:30).
• The evolution of costumes by Sutra Gilmour—black leather rock, lush 70s, Y2K 90s, and “futuristic, still Shakespearean” for Richard III—provides a visual progression in parallel with the narrative (19:24).
• Noted the set’s dynamic transformation: red carpet under a chandelier for Macbeth, a bed for Othello, playground/balcony for Romeo and Juliet, coffin and plastic seats for Richard III (20:36).

On Performances

• Praises Daniel Crickler’s Shakespearean versatility, especially his reluctant embodiment of femininity in the Richard III section (19:30).
• Describes the three witches as “looking like Destiny’s Child at their most stylish” (20:17) and deems the trio “astonishingly well cast.”

On Whitney White’s Central Performance

"The humanity of the entire thing, the exposed vulnerability of it all. When she bleeds on stage, it's only a theatrical effect, but metaphorically, it's as though she's exposing her entire soul."
— Mickey Jo, 23:19

Strengths, Critiques, and Reflections

Strengths

• Bold, interrogative reimagining of classic texts from an intersectional, contemporary vantage.
• Powerful balance of Shakespearean tradition with modern commentary and musical experimentation.
• Standout performances, especially Whitney White and the ensemble women.

Limitations/Critiques

• The two halves are uneven: the first is “mesmerizing,” the second less so, feeling more abstract and less thematically anchored.
• Some questions posed in the earlier acts are left unresolved.
• Music’s sung lyrics occasionally lack the clarity and poetic density of the text they’re set against.

Final Thoughts & Recommendations

• Mickey Jo hails the show as “the most exciting that I've seen so far this year," urging listeners to see it if possible, despite his reservations about cohesiveness (23:44).
• Expresses intrigue about the piece’s ongoing development and its potential for future refinement.

Timestamps for Key Segments

• [01:17] Show’s premise, format, and Mickey Jo’s initial impression
• [03:15] Lady Macbeth Act: performance details, music, and themes of agency
• [07:23] Emilia in Othello Act: race, partnership, and abuse
• [11:42] Shakespearean tropes, meta-discussion of theatre-making
• [13:12] Juliet Act and thematic/tone shift
• [14:35] Richard III Act: gender inversion, performance reckoning
• [15:20] Whitney’s identity, intersectionality, and disability comparison
• [19:24] Costume, set, and supporting cast analysis
• [23:19] Whitney White’s performance and emotional impact
• [23:44] Final recommendation and “stagey day” sign-off

Listener Takeaway

Mickey Jo’s review is a must-read/listen for anyone interested in new writing, socially conscious Shakespeare, or groundbreaking multidisciplinary stagecraft. He combines insider theatre passion with careful analysis and frank, sometimes witty insight, making All Is But Fantasy sound alive, relevant, and, even in its unevenness, essential for lovers of theatre and social commentary alike.